Re: A young'uns guide to purusing extensive artist discographies

U2 (a work in progress)

Part 1: Early albums

1.

Boy (1980) - "I started a landslide, in my ego / Look from the outside to the world I left behind." With this opening bombast on the first single from U2's debut album -- lyrics that are function as both a tribute and not-so-subtle claim to the legacy of the recently departed Ian Curtis -- one of rock's great egoists is born. But the singer's not the story on this album: his guitarist is. Armed with an array of delay effects born out of autodidacticism and inexpensive equipment, the Edge brings a fully-formed, signature sound to Boy, one that the band would build upon, subvert, and then rebuild upon for decades to come. Informed by the spirit of post-punk and new wave, but not certainly defined by it, U2 here suggest a flair for the anthemetic that would define their career, and the course of much of the two decades of alternative rock that would follow in their wake. "I Will Follow" and "Out of Control" suggest a wide-eyed combination of hopefulness and angst that only eighteen-year-olds can fully understand. I am perhaps overrating this album relative to where others would put it, but this music has a youthfulness and purity that has aged so well. Here is the biggest band in the world before anyone knew it. Except for Bono, of course. A-

2.

October (1981) - The difficult second album in every cliched sense, and then some. Having exhausted the well-rehearsed material of their formative years for the first album, the band had to start from scratch on a truncated time-frame in order to deliver the follow-up. Famously, a briefcase containing Bono's lyrics for the album were lost on tour shortly before the band entered the studio to record the album, forcing him to largely improvise in the studio. At the time, Bono, Edge, and drummer Larry Mullen, Jr. were all deeply involved in a local Christian sect; the commitment of the three band members to spirituality created something of an internal row with bassist Adam Clayton, who was far less interested in spiritual commitments than his bandmates. Many of the resulting lyrics in the album are overtly Christian in theme. Musically, the album sticks largely to Boy's script (without ever fully approximating its energy and novelty), but manages to find room for some exploration. Mid-album ballads "Tomorrow" and "October" incorporate elements of traditional Irish pipes and piano, respectively. Singles "Gloria" and "Fire" are well-selected album standouts, each showing growth in the band's rhythm section. A difficult album, but one that was ultimately necessary, according to the band's own telling, in convincing them to continue with music as a profession. C+

3.

War (1983) - From the opening martial drum beat of "Sunday Bloody Sunday" that begins the proceedings, War announces itself as the band's first attempt at a capital "I" Important album. Where October found the band treading water musically and lyrically, War delivered on the early promise of the band's early singles and Boy, and then some, and in the process gave the band its first significant chart success in the UK and exposure in the United States. Lyrically Bono moves from the inward realms of adolescent angst and spiritual yearning to the external realms of politics and romance. Political anthems like "Sunday Bloody Sunday" (about the Irish troubles, as considered from a defiantly pacifist perspective) and "New Year's Day" (about the Polish Solidarity movement, as considered from the personal heartache of jailed leader Lech Walesa) are so embedded in the popular consciousness of what U2 are as a band that it is nearly impossible to contextualize what they must have sounded like to fresh ears in 1983. It's certainly hard for me to separate these tracks from the DNA of the band as I understand it. "Two Hearts Beat as One" features a pulsing sense of rhythm that the band hadn't previously explored, one that would attract the attention of club DJs for the first time, and that would foreshadow --ever so slightly -- a direction that the band would take more than a decade later. It is perhaps the most consistently underrated song in the U2 back catalogue. The atmospheric "Drowning Man" remains a personal favorite; "Surrender" is the shoulda-been-a-hit. The album closes with "'40,'" a long-time fan favorite wrote in the 11th hour of the recording sessions which is based on Psalm 40. The album that gave U2 a purpose. A-

4.

Under a Blood Red Sky (1983) - A live ep, designed to capture the raw energy of the band's early period and to put a capstone on that era, today mostly serves as disappointing reminder of the fact that U2 contemporaneously released a far-superior full concert of the band's celebrated performance at Colorado's Red Rocks Amphitheater on home video formats. Only two tracks from the legendary Red Rocks concert appear among the ep's eight tracks: an excellent performance of 1981 single "Gloria," and a dismal performance of forgettable b-side toss-away "Party Girl." (Oddly, "Party Girl's" very notoriety and former obscurity made it something of a subsequent live staple and fan favorite after the release of this ep, notwithstanding the fact that it remains a terrible song.) The "Live at Red Rocks" concert film is essential U2; "Under a Blood Red Sky" is not. C-

Re: A young'uns guide to purusing extensive artist discographies

That said, dueling Frank Black pieces is cool, and I'm enjoying refreshing my memory/researching, but I'd happily switch to a Superchunk project. I've got a page of notes, and wouldn't feel like I wasted my time, by any means. Also, your user name is AlecEiffel, for god's sake. Anybody have any thoughts?

Re: A young'uns guide to purusing extensive artist discographies

Cool. I'm leaning toward the Superchunk project now. Around 20 releases, too. I'll probably still grade the rest of the Frank Black stuff just to see how they compare. Well, that, and because I'm a music nerd.

Re: A young'uns guide to purusing extensive artist discographies

Can this be right? Has no one done Dinosaur Jr. yet? I just went through the list twice and didn't see their name on there. Would anyone mind doing Dinosaur Jr.?

Originally Posted by bmack86

And it's been long established that Chris hates fun.

Originally Posted by Hatinisbad

I took my niece this year and it was her first Coachella. It was so fun to see it through her eyes. She thought it felt like a magical scene from Shreck. The one where all the fairy tale creatures meet for the first time in Shreck's swamp.

Re: A young'uns guide to purusing extensive artist discographies

I lol'd. Any excuse to break out that picture is a great one.

Originally Posted by bmack86

And it's been long established that Chris hates fun.

Originally Posted by Hatinisbad

I took my niece this year and it was her first Coachella. It was so fun to see it through her eyes. She thought it felt like a magical scene from Shreck. The one where all the fairy tale creatures meet for the first time in Shreck's swamp.

Re: A young'uns guide to purusing extensive artist discographies

And yeah, I can do Dinosaur. I just have familiarize myself with the 90s albums as I pretty much only listen to the OG lineup.

Awesome. Thanks Bryan.

Originally Posted by bmack86

And it's been long established that Chris hates fun.

Originally Posted by Hatinisbad

I took my niece this year and it was her first Coachella. It was so fun to see it through her eyes. She thought it felt like a magical scene from Shreck. The one where all the fairy tale creatures meet for the first time in Shreck's swamp.

Re: A young'uns guide to purusing extensive artist discographies

The Police were such a formative band for me growing up that I will probably always rank them as my “favorite” band even if I don’t listen to them all that much anymore. As a kid “Roxanne” and “Every Breath You Take” were some of my favorite songs, but it took my drum teacher to really set my interest in motion. He put together a mixtape of classic drummers and grooves, including Stewart Copeland’s one-of-a-kind rhythms on “Walking on the Moon.” Around the same time my parents got me a book on drumming that listed Copeland as recommended listening, so I purchased their best-of collection and soon became a huge fan of their discography. These days, Stewart is still a massive influence on my drumming style. Their reunion in 2007 was an unexpected dream come true for me and I saw them four times including “dress rehearsal” in Vancouver and the epic Dodger Stadium show with Foo Fighters. In retrospect yeah, it was a major cash grab, but I lived it up in the moment.

Every Breath You Take: The Classics (1995)

I’m starting with this single-disc compilation because it was my entry point and I’m still fond of it. It’s essentially all the radio hits, a “classic rock” remix of “Message in a Bottle” that to my ears always sounded identical to the original, and their 1986 reimagining of “Don’t Stand So Close To Me”. The latter’s fascinating because it’s basically an entirely different arrangement that is about as “1986” as you can get. I like that sort of thing, but your mileage may vary. If you’re looking for a more expansive introduction try the self-titled two-disc set from 2007, which includes their first single “Fall Out” from 1977.

Outlandos D’Amour (1978)

The Police were always a commercial-oriented band despite incorporating elements of punk rock into their sound and style in the late 70’s. Their debut album is naturally their rawest though there’s still plenty of pop and hooks in every song. Punky opener “Next to You” is one of my top 2 or 3 Police numbers. “So Lonely” is infectious, though Sting’s vocals may be an acquired taste here especially. Their reggae influence first shows up on “Roxanne”. (It’s worth noting that the band was far more accomplished musically than their punk peers; Sting came from a jazz background and Stewart previously played in a progressive rock band.) The jazz rears its head slightly on the boozy “Hole in My Life” - not a favorite of mine but I’d bet some of you really dig it. “Peanuts” is fast and dials the punk back up. Really fun. “Can’t Stand Losing You” is the other hit from this album and features surprisingly bleak lyrics with a reggae-tinged groove that perhaps most points towards their next album. “Truth Hits Everybody” is driving and aggressive, one of my favorites on the album and covered by punk and hardcore bands like No Use For A Name and Snapcase. “Born in the 50’s” bored me as a teen but the lyrics are pretty great and a snapshot of a generation. “Be My Girl/Sally” is weird in that a catchy punk-pop riff bookends guitarist Andy Summers’ spoken word piece about a blow-up doll. (You read that correctly.) The album closes with a departure, the hypnotic “Masoko Tanga” that also points to their future incorporation of reggae, ska and other world music styles. Overall I’m pretty damn fond of this album and while I’m somewhat averse to ranking and favoritism, this might have to be my “desert island” pick for The Police.

Regatta de Blanc (1979)
Regarded by some as the best Police album, Regatta de Blanc is neither a retread of their debut nor a significant departure. It refines their sound with better production and increases the reggae influence (as alluded by the title). “Message in a Bottle” is one of their biggest hits, truly a fantastic song with a riff second only to “Every Breath You Take” in their repertoire. The Grammy-winning title track is fascinating in its otherworldly style and unconventional structure; in my top 5 probably. “It’s Alright For You” is a highly underrated pop-rock gem in the vein of Outlandos with an irresistible keyboard solo to boot. “Bring on the Night” is a slightly ominous track that’s entirely in their unique brand of reggae with a great guitar solo at the end. Andy Summers may not rank amongst the upper echelon of rock guitar gods, but he certainly has style. The punky “Deathwish” also harkens back to the first record but never caught on with me. “Walking on the Moon” is dreamy, spacey, and a highlight of the album. “On Any Other Day” is very unique in that Stewart takes the vocal reins with a tale of dysfunctional suburban life; if you like the song you may want to check out his side-project Klark Kent. The last great song is “The Bed’s Too Big With You”, the strongest dose of reggae yet with a nice bass line. The last three tracks have never clicked with me which is why I probably can’t rank this higher than Outlandos. “Contact” contains stylistic elements that don’t really work for the band, “Does Everyone Stare” is too jazzy, and “No Time This Time” puts weird flanger effects on the vocals. Actually the latter is a pretty cool jam aside from that complaint.

Zenyatta Mondatta (1980)
This is where things really started changing. First, the album artwork is just weird (cool, but weird) compared to the first two. There’s a new pop sheen over everything, and Andy rarely uses any fuzz or distortion; even Stewart remarked in an interview that the “heavy metal” (lol) from the first two records was gone. Growing up I kind of neglected this album, in fact I don’t think I ever bought the CD, but it’s grown on me. The focus is on pop hooks, almost jazzy guitar riffs, and worldly beats. Hell, something like “Canary in a Coalmine” sounds right up Vampire Weekend’s alley. The record includes the infamous Lolita-referencing “Don’t Stand So Close To Me”, a fairly dark opener for the album. “Driven to Tears”, “When the World is Running Down”, and “Voices Inside My Head” are all great. Another popular hit “De Do Do Do...” divides the record from a solid first half and a less-than-stellar second act. The best number from the latter is the ska-tinged “Man in a Suitcase”. Overall Zenyatta’s a unique album but lacks the consistency of the earlier records.

Ghost in the Machine (1981)
The band redeem themselves somewhat with their fourth LP, often referred to as cold and dark due to its lyrical themes and increased reliance on synthesizers. The opener “Spirits in the Material World”, for example, is a typical Police groove yet there are no guitars to be found. “Every Little Thing She Does Is Magic” keeps the energy going and is one of the band’s biggest hits. One of the album’s darkest moments is “Invisible Sun”, featuring a politically-tinged lyric against quasi-industrial verses and a meaty rock chorus. This album features a bevy of horns as evidenced over the next handful of numbers. “Too Much Information” is a personal favorite with its repetitive riffs and lyrical themes of oversaturation. After a strong start and a shaky middle, the album ends superbly, starting with “One World (Not Three)”, essentially an extended vamp on a horn-heavy reggae/ska track with minimal lyrics and some of Stewart’s best drum fills. “Omegaman” is a futuristic-sounding rock song with a cool guitar solo. “Secret Journey” is rather pensive and mysterious with a wash of synths at the start and some nice subtle guitar riffing throughout. “Darkness”, the album’s closer, is odd and fantastic simultaneously. The groove is subtle, and again the guitars are replaced by keys and synths. This brings the album sort of full circle. I think I’ve heard some rank this as their best and I can see that. It’s a great album, but I wouldn’t recommend it as an entry point for The Police; it’s kind of a black sheep (in the most positive sense possible).

Synchronicity (1983)
Ah yes, their Big Pop album. Also their last LP; like many fast-ascending groups, they did not last long (and perhaps that’s for the best). It’s pretty amazing they were able to churn out five full-lengths in as many years, but it seems things worked a lot faster back then. This is the Police at their most streamlined, sounding virtually nothing like their first record or singles. Almost entirely absent is any reggae influence, though “exotic” elements remain. The record is like a neutered cross between Zenyatta and Ghost with emphasis on giant hits, Carl Jung, and a little absurdity. You want synth horns? Check. You want shimmering guitars? Check. You want lyrics about “spiritus mundi”? Check. You want Andy Summers warbling about his mother? Check. It’s the biggest and best-sounding of their records, a far cry from Outlandos. It also has at least three huge singles but i can’t help but feel like the record a whole feels a little bland, uninspired...maybe overproduced? I still enjoy it because it’s The Police but I would probably have to rank it last among their studio albums, or at least tied with Zenyatta.

Message in a Box: The Complete Recordings (1993)
This a four-CD box set containing all the studio albums plus singles, B-sides, live tracks, etc. It’s a great way to hear some early recordings (“Fall Out”, “Landlord”, “Dead End Job”, etc.) The live tracks show the band MUCH looser than on record, but the Live! double album (see below) does a much more thorough job of that. Some other great B-sides include the rocking “A Sermon” and hypnotic “Someone to Talk To.” “I Burn For You” is essentially a solo Sting song, while “Once Upon A Daydream” would be at home on Ghost in the Machine with its staccato guitars and heavy synths. Overall nonessential, but if you enjoy their style of music you might enjoy some of the rarities here.

Live! (1995)
This is a fantastic double album that documents the band at two very different points in their career. Disc 1 is taken from a show at the Orpheum Theatre in Boston, 1979 (soon after Reggata de Blanc). Disc 2 features material from their Synchronicity tour stop in Atlanta at the old Omni arena, 1983. While both shows are enjoyable on their own (and I’d suspect most of you will prefer Disc 1), the differences are not surprisingly staggering. Disc 1 is hilariously raw, to the point that the master volume is noticeably increased halfway through the first track. The sound is much edgier than any of their records with no overdubs, timing flubs, faster tempos, crunchier guitar, off-key backup vocals, etc. Songs like “Landlord” almost sound like a different band. One thing I love about their live show is their tendency to completely change arrangements (“Roxanne”) and combine songs (“Can’t Stand Losing You”/”Regatta de Blanc”) - the seven-minute version of “So Lonely” is probably my favorite track off Disc 1. On the other hand, Disc 2 is a snapshot at the height of their success. The crowd has increased at least tenfold, the sound is much cleaner, Sting’s voice sounds aged, they have BACKUP SINGERS...you read that right. That’s my least favorite part of this disc, but at the same time it’s part of the “charm” or whatnot. One thing they’re still good at though is not trying to replicate the records. Most songs are extended or have a distinct live flair - not something I see with many other bands today outside of maybe “jam bands”. Overall one of my favorite live albums and I’d consider this essential listening as it’s a much different side of the band than the studio recordings so many are familiar with. (The ‘83 show is also available on DVD.)

Certifiable: Live in Buenos Aires (2008)
Taken from their 2007-2008 reunion. I’m less familiar with this but it’s a good representation of what they sounded like if you missed the tour. Not essential, but if you’re curious to hear the 20-some year difference by all means it’s a fun listen. I’m glad they decided not to use backup singers or anything silly and I can vouch it was just the three of them on stage on this tour, though you can clearly hear prerecorded backup vocals here. Otherwise surprisingly few bells & whistles, and it’s interesting how Andy Summers tries to play himself up as a “rock guitarist” with several highly overdriven solos that don’t really recall his classic style. Stewart sounds like he hasn’t aged a day - in fact his drumming seems to have increased in ferocity and he’s now incorporated double kick playing. There are a few arrangement & harmonic/chordal changes, tempos are generally slowed down a bit, and there are songs that haven’t been played live much before if at all (like “Every Little Thing”). “Invisible Sun” sounds fresh, and the live timpanis on “Wrapped Around Your Finger” are neat. The recording quality is pristine. There’s undoubtedly some influence from Sting’s solo career, mainly in his vocal timbre and some jazzier or otherwise sedate aspects of the arrangements, but it’s reigned in and thankfully doesn’t detract much. The saddest thing is seeing this go from front endcaps at Best Buy (it was an “exclusive”) to the bargain rack a few years later. I enjoyed every moment of their brief comeback but in the end I had to admit to myself it was a big cash grab by all involved. Which really isn’t a surprise since they never seemed like they wouldn’t do such a thing, as I alluded to earlier. Anyway, a nice companion to the ‘79 and ‘83 recordings.

Videography

The ‘08 and ‘83 shows are available on DVD. Everyone Stares: The Police Inside Out (2006) is a great collection of home movie footage shot by Stewart Copeland while on the road with the band. Haven’t watched this in a while but would highly recommend it. Outlandos to Synchroniticites: A History of The Police Live! is only available on VHS I think. I haven't watched it in ages but I recall it has lots of live clips from across the years, including several early ones. There’s also a collection of the band’s music videos which, being from the early days of the medium, are mostly very entertaining (ex. “Synchronicity II”). The early pre-MTV ones in particular are very low budget, goofy, and fun to watch. I forget the name but I think its available on DVD as Every Breath You Take: The Videos.

It was fun to go through all these as it’s been a while. Hopefully some of you who aren’t familiar with anything beyond the singles will investigate further, and those that have heard the albums will maybe check out the live stuff and B-sides. I’d recommend just starting with Outlandos and listening to the studio albums in order.

Last edited by ocbruin84; 01-22-2013 at 11:08 AM.

Originally Posted by TomAz

Hey here's an idea. You know those people who are desperately poor, down on their luck, uneducated, abused, and generally ill-equipped for life? Let's make fun of them.